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He put the subject "Advertising" in the education program including among other things the analysis of advertising media and the psychology of advertising. Notably the first to define the term Graphic Design was the designer and typographer William Addison Dwiggins in 1922. Thus Tschichold Herbert Bayer László Moholy-Nagy and El Lissitzky became parents of graphic design as we know it today. They pioneered production techniques and styles that have been using later. Today computers have dramatically altered production systems but the approach that contributed to experimental design is more relevant than ever dynamism experimentation and even very specific things like choosing fonts (Helvetica is a revival originally a Typography design based on the nineteenth-century industrial) and orthogonal compositions.
In the years following the modern style gained acceptance while stagnated. Notable names in modern design midcentury are Adrian Frutiger designer of the typefaces Univers and Frutiger and Josef Müller-Brockmann large poster of the fifties and sixties. The Hochschule für Gestaltung (HFG) in Ulm was another key institution in the development of the graphic design profession. Since its founding the HFG distanced himself from a possible affiliation with advertising. At the beginning the department concerned was called Visual Design but it quickly became clear that his current goal was to solve design problems in the area of mass communication in the academic year 1956-1957 the name was changed to Department of Visual Communication modeled Visual Communication Department at the New Bauhaus in Chicago.2 3 In the HFG Ulm decided to work primarily in the area of persuasive communication in the fields such as traffic sign systems plans for technical equipment or visual translation of scientific content.
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The production of personal computers by competitors of Apple Macintosh as well as the ease with which film can be processed through its programs created a huge increase in the number of professionals interested in graphic design. This became evident by the growth in the number of agencies design offices publishing houses and service centres. Personal computers affected the technical and artistic aspects of production. Some production centres were able to develop their skill base and by recruiting experienced designers and developing them by organising training courses. These highly trained individuals achieved high standards of work within and outside Jordan and were able to compete with others in the Arab regions and captured a share of these markets producing many publications.